


The X-Men | Inherit The Earth: Episode 3 - The Third Option

by tW_oT



Series: The X-Men | Inherit The Earth: The TV Series [3]
Category: X-Men (Alternate Timeline Movies), X-Men - All Media Types
Genre: Brotherhood of Mutants (X-Men), District X, Gen, Morlocks (X-Men), Mutant Registration Act (Marvel), Mutant Town, Origin Story, Politics, Screenplay/Script Format, Sentinels, Television, The Purifiers (X-Men)
Language: English
Status: Completed
Published: 2020-11-05
Updated: 2020-11-05
Packaged: 2021-03-09 05:33:59
Rating: Teen And Up Audiences
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 13,549
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/27389539
Author URL: https://archiveofourown.org/users/tW_oT/pseuds/tW_oT
Summary: Ismael turns to Scott and Jean for help with Unus the Untouchable. Rogue and Toad face a crossroads with the Brotherhood. Xavier, Ororo and Forge investigate the Purifiers. Kelly must deal with the costs of his campaign resurgence.
Series: The X-Men | Inherit The Earth: The TV Series [3]
Series URL: https://archiveofourown.org/series/1940074
Kudos: 2





	The X-Men | Inherit The Earth: Episode 3 - The Third Option

**Author's Note:**

> [SPOILER ALERT for Episodes 1 & 2]
> 
> PREVIOUSLY ON "THE X-MEN"...
> 
> With the passing of the Mutant Registration Act, mutants across the U.S. are being rounded up and placed in detainment camps. World-renowned professor and secret mutant Charles Xavier has recruited some of his former students to join him in building a coalition of mutants to come out publicly and change the perception of mutantkind. 
> 
> Presidential candidate and the MRA's sponsor Senator Robert Kelly has agreed to work with televangelist William Stryker to bolster his campaign, as long as Stryker can get rid of the mysterious and dangerous Logan, the only person left who knows about Stryker's unethical military past experimenting on mutants. Stryker mobilizes his personal militia of believers, the Purifiers, to hunt Logan who is on a cross-country trip to find Xavier with mutant refugee Kurt Wagner.
> 
> After discovering that his 12-year-old daughter Angie Salvadore is a mutant, NYPD Officer Ismael Ortega moves into "Mutant Town", two tenement high-rises in New York's Lower East Side that mob boss Unus the Untouchable is renting out to mutants fearing detainment. In exchange, Ismael acts as Unus's "sheriff", a role that brings him in contact with two members of Xavier's coalition, Scott Summers and Jean Grey. 
> 
> The terrorist group known as the Brotherhood of Mutants, led by Magneto and his generals the Acolytes, have inhabited the mutant island of Krakoa. After helping to liberate a mutant organ farm, two of the group's newest recruits, Rogue and Toad, have caught the eye of Vapor, one of the Acolytes and Xavier's old flame. Toad, however, harbors doubts about the Brotherhood.
> 
> When Stryker's Purifiers attack Logan and Kurt on an Iowa highway Logan ruthlessly kills all of them, except for comms specialist Matthew Risman who escapes. News of the massacre pre-empts the presidential debate, and the country is soon gripped in fear.

INT. KITCHEN/ROGUE’S FOSTER HOME - MARION, MS -- DAY - 6 MONTHS EARLIER

LIGHT SHAFTS enter the windows as we MOVE slowly across a cozy kitchen, in an old southern gothic house.

We LAND on ROGUE, sitting at the table alone, head down. She listens to the conversation in the next room.

SOCIAL WORKER (O.S.)  
Now uh... This is her eleventh  
foster placement in three years.  
Ran away from most of them, flamed  
out of a few others. She just tends  
to go her own way. Girl says she  
just wants to be part of a family,  
but whatever she’s looking for... 

  
INT. LIVING ROOM/ROGUE’S FOSTER HOME -- CONTINUOUS

We MOVE from a SOCIAL WORKER, male, 30s, seated in an armchair with a file folder open on his lap, to the sofa where a delicate white woman with close-cropped salt and pepper hair, in large DARK SUNGLASSES, sits sipping a CUP OF TEA. This is MRS. ADLER, 60s.

**CHYRON: MARION, MISSISSIPPI - 6 MONTHS EARLIER**

SOCIAL WORKER  
...She ain’t findin’ it. Lucky for  
us, these seem to be the cases that  
you have a talent for.

MRS. ADLER  
I do what I can.

SOCIAL WORKER  
I gotta say, we’re all kind of in  
awe of you down in Meridian...

  
INT. KITCHEN/ROGUE’S FOSTER HOME -- CONTINUOUS

Rogue’s eyes dart around the kitchen as she listens in. A piece of WALL ART reads: “ALWAYS LOOK TO THE SUNNY SIDE,” with a picture of a fried egg.

She turns to the window and sees a GROUP OF BURNOUTS around her age walking down the street.

SOCIAL WORKER (O.S.)  
Just the changes we’ve seen in your  
kids... And you’ve been at it such  
a short time, less than a year.

MRS. ADLER (O.S.)  
Maybe, but I had quite the life  
before this. Believe me.

Rogue carefully, quietly, creeps toward the back door. She opens it without a sound and slips away.

  
EXT. ROGUE'S FOSTER HOME -- CONTINUOUS

Rogue walks down the back porch. She watches from a distance as the Burnouts head into the surrounding woods.

  
INT. LIVING ROOM/ROGUE'S FOSTER HOME -- CONTINUOUS

The Social Worker closes the file folder as Mrs. Adler sips.

SOCIAL WORKER  
How do you do it?

MRS. ADLER  
No secret really, just managing  
expectations. And I think--

The front door CREAKS open. The Social Worker turns to look. RAYMOND, 60s, a rotund black man with gray hair and a warm smile enters the front door, carrying LUGGAGE.

RAYMOND  
So what’s the verdict? Can I keep  
her? Not the kiddo, talking about  
this little lady right here.

Raymond walks over and places a kiss on Mrs. Adler’s head. He turns and extends a hand to the Social Worker. They shake.

SOCIAL WORKER  
Mr. Adler, how do you do?

RAYMOND  
Please: it’s Raymond. Staying for  
dinner?

SOCIAL WORKER  
No, no. Actually...  
(checking his watch)  
Probably should’ve left a while  
ago. I’ll leave you with her.

Raymond walks the Social Worker back to the door.

SOCIAL WORKER (CONT’D)  
Just wanted to say again, I think  
you two are amazing.

RAYMOND  
Yeah, yeah, yeah. Go on, get out of  
here... Have a good night.

The Social Worker waves as the door CLOSES. As Raymond walks back to Mrs. Adler his mannerisms turn distinctly feminine. His gait changes.

RAYMOND (CONT’D)  
So. How many are we up to now?

MRS. ADLER  
It’s just her at the moment.  
(beat)  
She’s one of us, you know.

RAYMOND  
Oh, really?

MRS. ADLER  
She hasn’t manifested yet, but...  
Soon.

RAYMOND  
Well then, _Destiny_... We grooming  
this one for Magneto?

MRS. ADLER  
(laughing)  
It seems that we are, yes. Whether  
we mean to or not.

RAYMOND  
Better her than us. I do miss the  
sunrise over Krakoa though.

Raymond sits next to Mrs. Adler on the couch.

MRS. ADLER  
What’s it like out there?

RAYMOND  
Irenie... I don’t even know what I’m  
looking for. I’m in and out of  
jails, homeless shelters,  
courthouses. Eight different  
states. Looking for a sign, but I don’t  
even know what a sign would be.

MRS. ADLER  
Well, we’ve got to keep looking.  
You’ll know it when you see it.

RAYMOND  
How would you know?

MRS. ADLER  
(laughing)  
Shut up. You old bag. You’re not as  
funny as you think.  
(beat)  
I’ve seen more since you left.

RAYMOND  
Another dream?

MRS. ADLER  
(nodding)  
Just the tiniest bit clearer. This  
time it seemed like... Like they  
would be in positions of power.

RAYMOND  
You said they’d be mutants. If you  
wanna find mutants nowadays, you  
look in the gutters.

MRS. ADLER  
Then we need a new approach.

Mrs. Adler turns to face Raymond for the first time. Grave.

RAYMOND  
I hear you, I hear you... Who  
knows? Maybe I’ll try my hand at  
the pictures this time. You and the  
newbie can catch me all dolled up  
on the evening news?

MRS. ADLER  
(laughing)  
Not like that. Just from the voice  
I can tell that face is for  
radio...

They laugh. He takes her hand.

RAYMOND  
Doing it this way... I’ll need more  
time. It’ll be a deeper cover, take  
longer to build credibility. I  
could be gone---

MRS. ADLER  
I’ll manage.  
(beat)  
Raven. It has to be done. I’ve got  
the kid. I won’t be alone.

RAYMOND  
OK. Speaking of which, I should go  
say hello...

Raymond gets up, disappears into the kitchen.

MRS. ADLER  
She’s just there, in the kitchen.  
Or-- Oh. 

RAYMOND (O.S.)  
Irenie... She’s gone, she’s-- The  
back door-- Irene!

He returns a moment later, a shocked expression on his face. Mrs. Adler takes another sip.

MRS. ADLER  
It’s true, she won’t be with us  
long. But she’s not going anywhere  
just yet. She’s about to meet Cody.

  
EXT. THE WOODS -- CONTINUOUS

Rogue comes upon a clearing and sees the Burnouts, crowded around, passing a LIT JOINT.

CODY (O.S.)  
Hey.

She turns around to see CODY, 16. Blonde, handsome, smiling. The air of a choir boy, the furthest thing from a Burnout.

CODY (CONT’D)  
You the new girl? Next door?

Rogue smiles bashfully.

ROGUE  
Who wants to know?

  
INT. BLACK VAN - WYACONDAH, IA -- DAY

A news report plays on a PHONE SCREEN. Reporter TRISH TILBY is live from the crime scene on the highway, POLICE OFFICERS and OTHER PRESS behind her in the distance.

TRISH TILBY (ON TV)  
Over 116 mutant regulatory bills  
were introduced, just this morning,  
in municipal governments across the  
country, as news of the Highway 63  
Massacre spreads. We are live--

AGENT VALERIE COOPER, late 30s, an athletic blonde in a power suit, watches while riding in the backseat. Stone-faced. She SPREADS HER FINGERS ON THE SCREEN to zoom past the reporter.

AGENT COOPER  
Hey Rinehart. 

A stocky white man turns toward Agent Cooper from the passenger seat, AGENT BRIAN RINEHART, 40s.

AGENT RINEHART  
Yeah Coop?

AGENT COOPER  
Call ahead. I want all press and  
local PD cleared out by the time  
we’re on scene. No circus. From now  
on, we’re the only show in town.

AGENT RINEHART  
On it.

AGENT COOPER  
...And tell them we want coffee. No  
highway truck stop bullshit, tell  
them to find the good stuff.

AGENT RINEHART  
Two sugars, splash of soy. Yes  
ma’am. Should I get something nice  
for myself while I’m at it?

Rinehart turns back with a smile, but Cooper’s slipped her headphones on, concentrating on the news report.

  
EXT. HIGHWAY 63 -- CONTINUOUS

The BLACK VAN heads down the stretch of barren road.

**CHYRON: WYACONDAH, IOWA - PRESENT DAY**

  
EXT. CRIME SCENE/HIGHWAY 63 -- DAY

Forge’s cybernetic hand picks up two SHELL CASINGS next to a yellow EVIDENCE MARKER on the ground. He rolls up his sleeve to reveal a COMPUTER SCREEN in his forearm, showing an analysis of the casings.

Forge, the Professor, Scott, Jean and Ororo step carefully around the scene, well inside the YELLOW CAUTION TAPE. White tape outlines of where the dead were line the ground.

FORGE  
Shell casings are from a semi-  
automatic weapon, but the blood  
splatter patterns of the victims  
shows they weren’t shot, they were  
stabbed.

JEAN  
Didn’t hear anything about that on  
the news.

FORGE  
There’s tire tracks from three  
motorcycles, two of them likely  
tactical, converging on the other.  
(pointing away)  
Also found tracks from a van 500  
feet out. Heavy tracks, like the  
van was carrying a lot of weight.  
Gear, equipment, maybe running  
medical or comms.

SCOTT  
So this was an attack. Military.

FORGE  
Or vigilante militia with some real  
training.

ORORO  
The mutant was acting in self-  
defense.

PROF. XAVIER  
And was wildly successful, it  
seems.

FORGE  
Whoever coordinated this was  
organized, resourceful. It’d be  
best to stay local for a few days.  
Canvass the area. See if more  
mutants could be in danger.

Ororo nods.

JEAN  
I actually would like to get back  
to the mansion. Peter’s all alone  
with Illyana, and I want to be  
there if Officer Ortega decides to  
come around.

PROF. XAVIER  
Right. Scott, why don’t you and  
Jean take the jet back to New York.  
The three of us will do some  
investigating, then return soon.

SCOTT  
What about the killer? I mean, he  
just set our cause back years.  
We’re not even gonna look for him?

ORORO  
He or she was the victim here.

FORGE  
And there are enough people after  
them already.

SCOTT  
Professor? This scene is barbaric.

JEAN  
I agree with Scott.

Scott turns to Jean, surprised.

PROF. XAVIER  
Well, we don’t have time to get  
into this now. I need to release  
them, we’ve lingered long enough.  
(beat)  
Jean, if you don’t mind.

Jean nods, then closes her eyes and spreads out her hands. Her feet slowly RISE from the ground, followed by the others.

JEAN  
Little cloud cover, please.

Ororo’s EYES CLOUD OVER, soon glowing white. As a THICK FOG rolls in, they all LEVITATE UPWARDS, disappearing into the low hanging clouds.

We now see clearly what SURROUNDS the crime scene, DOZENS of LOCAL POLICE, FEDERAL AGENTS, and JOURNALISTS all FROZEN IN PLACE. Their hair and clothes flutter in the wind, but their expressions don’t change, their limbs are suspended mid-motion.

Cooper stands with a CUP OF COFFEE inches from her lips. Her eyes are wide open and tears have streaked her cheeks.

SUDDENLY Cooper’s hand rises to pour the coffee into her waiting mouth. Everyone else resumes action as well.

Cooper gulps, then looks down at the coffee surprised. A LOCAL POLICE OFFICER stands in front of her, still holding a CUP CARRIER with other DRINKS.

LOCAL POLICE OFFICER  
Is something wrong? Two sugars,  
splash of soy milk.  
(pointing)  
They wrote it on the cup.

AGENT COOPER  
No, it’s just-- It was... Really  
hot when you handed it to me. Like,  
 _really_... But now it’s, uh...

Cooper reaches to feel the other cups. She wipes her eyes, looks at her watch.

AGENT COOPER (CONT’D)  
What time did you get here? Just  
now?

LOCAL POLICE OFFICER  
I don’t-- I mean...

AGENT COOPER  
You got a receipt for the coffee,  
right?

The Local Police Officer digs in his pocket, then hands her the RECEIPT. Cooper inspects it.

AGENT COOPER (CONT’D)  
How long did it take you to get  
here from this place?

LOCAL POLICE OFFICER  
Uh... About twenty minutes.

AGENT COOPER  
Are you sure?

LOCAL POLICE OFFICER  
Yeah, we go there all the time. Wh--

Cooper takes the receipt, walking to the center of the crowd.

AGENT COOPER  
(shouting)  
OK, everyone freeze in place now,  
please! Stop packing, no one  
leaves! We are sealing off this  
area immediately! No one in or out! 

Rinehart approaches from across the highway, he gets in close to Cooper, whispering.

AGENT RINEHART  
Coop? The hell you doing?

AGENT COOPER  
We’re missing time. All of us.  
About a half an hour, maybe more.

AGENT RINEHART  
What? What’re you talking about?

AGENT COOPER  
Just now. Mutants. They were here.

**MAIN TITLES**   
**“The Third Option”**

  
INT. BATHROOM/TRUCK STOP - NORWALK, OH -- DAY

WATER in the sink runs RED WITH BLOOD. LOGAN holds his shirt under the running faucet, scrubbing. His face and body are spotted with caked blood, but his wounds have healed. A KNOCK comes from the bathroom door.

KURT (O.S.)  
Logan?

Logan reaches over and opens the bathroom door. A hooded KURT enters with an armful of CLOTHES. Logan resumes scrubbing.

KURT (CONT’D)  
That is not coming out. Do your  
face. The spots.  
(motions to blood spots)  
Here.

He hands Logan a ROCK AND ROLL HALL OF FAME T-SHIRT. Logan looks it over, dissatisfied. He takes it with a huff.

KURT (CONT’D)  
And pants.

Kurt hands Logan a pair of SWEATPANTS. Logan unfolds them and sees the word “JUICY” in block letters across the butt.

LOGAN  
You serious?

KURT  
It is all they had. What does it  
mean?

Logan glares, but takes the sweatpants. He returns to the sink, using his bloody shirt to wipe his face.

KURT (CONT’D)  
Logan... They will find us.

Logan calms, breathing deeply. He takes off his jeans to put the sweatpants on.

LOGAN  
They’re not gonna find us.

KURT  
They have your bike Logan. And your  
blood.

LOGAN  
They can’t find me with that. I  
don’t show up in anything.

KURT  
But you said you were not allowed  
in the country--

LOGAN  
Look, no more questions! I don’t--  
I don't understand it all either  
but, unless you left your _driver’s_  
 _license_ at the scene, we’re clear.  
Now did you leave anything?

Kurt shakes his head nervously as Logan finishes dressing.

LOGAN (CONT’D)  
Good. We travel only at night from  
now on. And no highways. Even with  
that, we can still reach New York  
in two days. That’s all that  
matters.  
(beat)  
Count to ten and then walk out.  
I’ll have you covered.

Logan walks out of the bathroom. As soon as the door closes, Kurt begins rummaging through his coat, then his hoodie pockets. Searching for something he can’t find. He gives up.

KURT  
(under his breath)  
Scheisse!

  
EXT. TRUCK STOP PARKING LOT -- DAY

We follow Logan’s “juicy” sweatpants as he walks out toward the motorcycle, Kurt close behind.

**CHYRON: NORWALK, OHIO**

A GAS STATION ATTENDANT sits in front of the garage, watching STRYKER speak from a pulpit on a TUBE TV resting on a footstool.

REV. STRYKER (ON TV)  
Can there now be any doubt of the  
mutant menace? Of the threat these  
hellspawn represent to all us  
natural people? We must...

The Attendant eyes Logan and Kurt suspiciously. Logan pulls a neon TRUCKER CAP that reads “I [HEART] JESUS” on to his head as he nods at the Attendant. The Attendant nods back.

Logan and Kurt climb onto the motorcycle and take off.

  
INT. KITCHEN/KELLY’S HOME - JEFFERSON HILLS, PA -- NIGHT

Kelly sits on a stool in his kitchen under big SOFTBOX LIGHTS. CLOTHES PEGS hidden on the back of his shirt, pull it taut across his chest.

Across from Kelly, SHARON, GYRICH and a NEWS PRODUCER stand next to a CAMERAMAN recording the senator. A MONITOR on the kitchen counter shows the NEWS ANCHOR interviewing Kelly.

**CHYRON: JEFFERSON HILLS, PENNSYLVANIA**

NEWS ANCHOR  
Senator, many experts are  
speculating that support for your  
campaign will skyrocket because of  
this tragedy. Has your campaign  
noticed any uptick in support?

SEN. KELLY  
As I’m sure you know Chris, now is  
not the time for politics. That’s  
why I’m home with my family,  
concentrating on supporting the  
people of Iowa. And one way to do  
that is urging more states to move  
up the implementation timeline on  
my MRA bill’s safeguards.

Gyrich signals Kelly with a THUMBS UP.

NEWS ANCHOR  
Last thing Senator, I wanted to ask  
you about your working relationship  
with televangelist William Stryker.  
How involved is Stryker in your campaign?

SEN. KELLY  
William is an advisor and a dear  
friend, who’s service to this  
country can not be overstated. But  
like I said, we are not making  
campaign decisions right now.

NEWS ANCHOR  
Senator Robert Kelly, always  
pleasure sir.

SEN. KELLY  
Thank you Chris.

NEWS PRODUCER  
And we’re clear.

The monitor BLIPS off. The Cameraman starts breaking things down, as Kelly rises and walks toward Gyrich and Sharon.

GYRICH  
You are the maestro of having and  
eating cake.

SHARON  
(kissing him)  
That was great honey.

SEN. KELLY  
Is he right though? About the  
support?

GYRICH  
Donations are up 75% since the news  
broke last night. I got a couple  
governors that want to talk to you  
 _this_ morning about moving up  
implementation.

Kelly, Gyrich and Sharon walk towards the living room.

SEN. KELLY  
OK then. Don’t ever let bad news  
get you down.

GYRICH  
And I moved up your meeting at  
Trask A.I. to tomorrow.

SEN. KELLY  
That startup kid from TLEC? Henry,  
I-- I just got off national TV  
where I said I’m staying with my  
family through this crisis. I’m not  
leaving the state for a coffee  
date. You didn’t even like him,  
Henry.

  
INT. LIVING ROOM/KELLY’S HOME -- CONTINUOUS

Kelly, Gyrich and Sharon enter the living room, which has become a campaign command center. CAMPAIGN WORKERS buzz around, hunched over laptops, passing documents.

GYRICH  
I didn’t, but that--

An INTERN walks over to Gyrich and hands him a POST IT NOTE.

INTERN  
Henry.

GYRICH  
(takes the note; reading)  
But that was before last night. His  
app for mutant tracking, Robert...  
He needs to be with us in the  
driver’s seat of the response.  
Shit.  
(dropping the note)  
Stryker wants a meeting. Says it’s  
urgent, says he’ll come to you.

SEN. KELLY  
Well, that settles it. Kid’ll have  
to wait.

Kelly begins to walk away. Gyrich’s frustration grows.

GYRICH  
I’ll meet with Trask.  
(beat)  
I’ll fly out tonight, be back  
tomorrow night. We can’t wait on  
this.

Beat. Kelly turns back.

SEN. KELLY  
What does Stryker want?

GYRICH  
Have some faith you can sniff out  
that answer without me.

Kelly chuckles.

SEN. KELLY  
Tomorrow night, no later. I want a  
thorough briefing.

GYRICH  
You’ve got governors to call.

Kelly nods as he walks off. Sharon turns to Gyrich.

SHARON  
Good luck, Henry.

Gyrich nods, smiling.

  
EXT. GOVERNORS ISLAND - NEW YORK, NY -- DAY

An EXCAVATOR digs up clumps of earth from a large grass field as CONSTRUCTION WORKERS lay CHAIN LINK FENCING.

CHARLOTTE leans against a SQUAD CAR, watching. ANOTHER SQUAD CAR pulls up down the hill from her. She watches as ISMAEL climbs out of the passenger seat, carrying a WHITE BAG. He jogs up the hill to her.

**CHYRON: GOVERNORS ISLAND, NEW YORK**

CHARLOTTE  
Nice of you to join me, officer.

ISMAEL  
I know, I know. No one told me  
about the emergency detail. Here,  
peace offering.

As Ismael approaches, he pulls a BREAKFAST SANDWICH out of the bag. Charlotte takes it.

CHARLOTTE  
A’ight. Ortega’s nobody’s fool.

Ismael looks on as the excavator digs up more earth.

ISMAEL  
Jesus.

CHARLOTTE  
No kiddin’. Never seen the city  
move this fast on anything.

ISMAEL  
Better here than next door, I  
guess.

The POLICE RADIO CACKLES from inside the car. Charlotte reaches in and grabs the receiver.

CHARLOTTE  
Jones.

POLICE RADIO  
Hey Jones... Anything?

CHARLOTTE  
Same amount of nothin’ as an hour  
ago.

POLICE RADIO  
OK, we’re just gettin’ a lot--

CHARLOTTE  
Yeah, we’ll call in once there’s  
something to call about.

POLICE RADIO  
...Copy.

Charlotte puts the radio back.

CHARLOTTE  
This guy...

ISMAEL  
Hard to blame them. After last  
night, I’m sure every loose screw  
in the city has called in at least  
once.

Beat.

CHARLOTTE  
Buddy of mine in Staten Island  
said a call came in last night.  
Woman reporting a suspected mutant  
in the neighboring apartment. Said  
she had wondered for years about  
this guy, but never had the stomach  
to pick up the phone. But now... So  
around 2 AM SWAT raids the joint,  
right? Takes the door and  
everything. They pull out a 16-year-  
old kid who fell asleep on top of  
his homework. His “mutant ability”:  
six toes on each foot. That’s it.

ISMAEL  
So what’d they do?

CHARLOTTE  
Detained him and his whole family.  
Gonna move them in here soon as  
it’s done. We’re guarding their  
newly furnished household.  
(beat)  
“Give us your poor, your tired,  
your huddled masses, yearning to  
breathe free...” And we’ll stick  
‘em under two planks of wood. Give  
them a day old bread ham sandwich.

Ismael looks at Charlotte, surprised. But nervous.

ISMAEL  
C’mon, Lottie. Really? You wouldn’t  
have taken him in? I mean... Six  
toes, that’s textbook mutation.

CHARLOTTE  
See, that’s the problem. The way  
 _I’m_ seeing it, that used to just be  
called being human.

ISMAEL  
So what _would_ you do?

CHARLOTTE  
I just would’ve done something  
else. I don’t know what, but... I  
wouldn’t have done anything until I  
had a something else.

Ismael takes a bite of his sandwich. Glancing at Charlotte.

  
EXT. BEACH/KRAKOA -- DAY

A tiny RAFT, made of sticks and vines, rests in the wet sand. A heap of CLOTHES, BOOKS, and FLOWERS sits on top of it.

Rogue walks up and places another flower on the heap. Behind her dozens of mutants are gathered, including TOAD, VAPOR, AVALANCHE, EXODUS, SAURON, NORIKO and her MOTHER.

**CHYRON: KRAKOA, BERMUDA TRIANGLE**

Vapor strikes a MATCH and sets the raft AFLAME, then pushes it into the waves. The water takes it.

VAPOR  
For Chrome.

CROWD  
For Chrome.

Sauron ROARS. Toad turns away, walks off unceremoniously. Rogue watches, concerned, as Vapor puts an arm around her.

  
EXT. FOREST/KRAKOA -- DAY

Rogue follows Vapor into a clearing. VERTIGO, BLOB, and PYRO sit around a fire as THUNDERBIRD grills a stack of FRUIT KABOBS over it.

PYRO  
...You only say that ‘cause you  
never met my mum. She never made  
anything this good.

Pyro turns and sees Rogue and Vapor enter. He SLAPS the table in excitement.

PYRO (CONT'D)  
Ah ha! Perfect! A fresh set of  
taste buds. Rogue come over here,  
you’ve gotta try one of these. T-  
Bird’s got it down to a science.  
Tell me that is not one of the best  
things that’s ever been in your  
mouth.

As Rogue walks over Thunderbird hands her one of the kabobs. Rogue takes a bite, juice splashing on to her face.

ROGUE  
 _Mmmm_. That’s really, _really_ good.

Pyro turns to Vertigo, gloating. Vertigo rolls her eyes.

PYRO  
Admit it. He’s got you beat, mate.  
Compliment the man.

VERTIGO  
She just hasn’t tasted mine yet.

PYRO  
But I have and it’s rubbish.

THUNDERBIRD  
The trick is the order in which you  
cook and then place them on.

BLOB  
The trick is not burning the shit  
out of ‘em like Vertigo does.

VERTIGO  
I like a good crunch.

Rogue takes a seat. Pyro turns to face her.

PYRO  
You know Rogue, I was telling the  
guys how you and Toadie were on the  
raid. Good on both of you, stepped  
up, kept your heads on a swivel.  
Real shame about Chrome, but--

Vapor catches Pyro’s eye, shaking her head sternly.

PYRO (CONT’D)  
Right... Point is, we make quite  
the team. We could really use you,  
and the more you give the cause,  
the more we’ll give you.

BLOB  
Has anyone told you what the cause  
actually _is_?

ROGUE  
Mutant freedom. Empowerment.

PYRO  
Bit vague, isn't it?

THUNDERBIRD Mutant independence. Our own  
sovereign nation. Not just a little  
island, a land of our own. Where we  
can determine our own future.

BLOB  
Making that happen’s gonna take  
real sacrifice though. Dedication.

ROGUE  
I can do that. I wanna do that.

Rogue looks around at their kind faces. The moment lingers.

PYRO  
Thunder! Thought we were eatin’! We  
need heaps of kabobs here.

Thunderbird drops a handful more kabobs in front of them.

  
INT. STRYKER’S OFFICE/CRUSADE STUDIOS - HOUSTON, TX -- NIGHT

Stryker works by the light of his desk lamp, poring over a Bible, taking meticulous notes. Mahler’s “Symphony No. 2” plays from a stereo. Across the room the NEWS plays on a muted TV. A PHONE RINGS.

**CHYRON: HOUSTON, TEXAS**

REV. STRYKER  
Anne? Get that, please.  
(beat)  
Anne?

The ringing continues. Stryker looks up, exasperated. He glances at the desk phone, no lights are on. He realizes.

He pulls open his bottom desk drawer to see a blinking SAT PHONE, just as the office door opens. It’s ANNE.

ANNE  
I’m sorry, Reverend?

He WAVES her out impatiently. She leaves, embarrassed. Stryker answers the phone.

REV. STRYKER  
“God forgives the purifiers...”

RISMAN (ON PHONE) (O.S.)  
“...For their sins bear God’s name.”

REV. STRYKER  
Where the hell have you been?

EXT. PARKING LOT/MOTEL - BLOOMFIELD, IA -- NIGHT

RISMAN stands at a payphone, in a sweatshirt and CRUSADE STUDIOS BASEBALL CAP. His WHITE VAN is in the lot behind him.

**CHYRON: BLOOMFIELD, IOWA**

RISMAN  
It went south. Very south.

REV. STRYKER (ON PHONE) (O.S.)  
You think I don’t know that? The  
whole goddamn country knows that.

INTERCUT PHONE CONVERSATION - STRYKER’S OFFICE/PARKING LOT

RISMAN  
Am I burned?

REV. STRYKER  
...No. No, but you can’t come in.  
Where are you now?

RISMAN  
Iowa still. Stayed local, in case I  
need to run interference on the  
investigation.  
(beat)  
Sir, he had help. A teleporter. He  
could be anywhere.

REV. STRYKER  
Just lay low for now. Find some  
friendly faces, a place to stay  
that won’t leave a trail.

RISMAN  
Sir... You once told me about an  
independent operative. The Chechen.

REV. STRYKER  
Yes?

RISMAN  
I think we need to consider, “fire  
with fire.”

Stryker leans back in his chair, considering.

  
INT. MUTANT TOWN HIGH-RISES - LOWER EAST SIDE, NY -- DAY

Ismael, out of uniform but still armed, hustles a SMALL FAMILY down the hallway.

ISMAEL  
Come on, come on!

LORELEI holds an apartment door open as Ismael guides them through. The MOTHER turns to Ismael.

ISMAEL (CONT’D)  
Please, just stay inside for now.  
And keep the door closed.

He closes the door. Lorelei grabs Ismael’s hand.

LORELEI  
How bad is it?

  
EXT. MUTANT TOWN HIGH-RISES -- CONTINUOUS

A CROWD OF MUTANTS, some with obvious mutations, flood the entrance way to the high-rises. BANGING on the doors and windows. Many carry BAGS full of their clothes and belongings.

**CHYRON: NEW YORK, NEW YORK**

  
I/E. LOBBY/MUTANT TOWN HIGH-RISES -- CONTINUOUS

Ismael jogs down towards the entrance where JAPHETH is already waiting. People are pressed against the glass trying to push through.

ISMAEL  
We’re full up. That was the last  
apartment.

JAPHETH  
You g'wan tell them that?

ISMAEL  
Just watch my back.

Ismael breathes deep and walks out the door, confronting the crowd. CARRIE, 20s, a woman at the front of the crowd with many extra layers of drooping skin, waves a PIECE OF PAPER.

CARRIE  
Please! Please, I have an agreement  
with Mr. Unuscione!

ISMAEL  
Listen up everybody! All of the  
apartments are taken. We have no  
vacancies. So we need everyone to  
exit the premises--

VOICE IN THE CROWD 1  
Bullshit! Unus sent me!

VOICE IN THE CROWD 2  
I have a lease!

A BUNCH more hands shoot up, waving paperwork.

CARRIE  
Please! I can’t go home! They’ll  
kill me if I go home.

Ismael grabs the lease from Carrie. Reads it, it has Unus’s signature and everything.

ISMAEL  
I’m sorry.  
(to everyone)  
There is no space! You all have to  
go!

A BRICK shoots through a lobby window with a CRASH. Ismael and Japheth duck as GLASS rains down.

The brick pauses in mid-air and then flies backward through the same hole, before shooting through another lobby window. Japheth GRABS the brick mid-flight, just as one of his GIANT SLUGS crawls down his arm to DEVOUR the brick. As it eats, Japheth GROWS IN SIZE, his skin TURNING BLUE and his eyes GLOWING RED.

Ismael draws his weapon and the crowd steps back from the door. He closes it, and turns to Japheth. Pleading.

JAPHETH  
Soon come back, alright?

Ismael nods, then runs back inside.

  
INT. ISMAEL’S APARTMENT/MUTANT TOWN HIGH-RISES -- DAY

ANGIE looks out the window at the swarming crowd. The door flies open and Angie turns to see Ismael enter.

ANGIE  
Daddy!

ISMAEL  
Get away from the window, mija.

Ismael grabs his PHONE from the kitchen counter and dials a number. He paces as the phone rings.

UNUS (ON PHONE)(O.S.)  
Yo?

ISMAEL  
Unus! Unus, we need you down here.  
There’s gotta be a hundred people  
outside, trying to move in and  
they’re getting... They’re angry.

UNUS (ON PHONE)(O.S.)  
...So move ‘em in. What’s the  
problem?

Beat.

ISMAEL  
Probl-- There’s no apartments.  
Every- _every_ apartment is taken.  
(beat)  
Are you still renting? ...Hello?

UNUS (ON PHONE)(O.S.)  
You know what this sounds like?  
This sounds like a sheriff problem.  
Make me proud.

ISMAEL  
They’re gonna riot--

The phone CLICKS OFF as Lorelei enters the apartment.

LORELEI  
Why’re you back up here?

ISMAEL  
Unus says it’s my problem.

Ismael walks to the window looking out at the pandemonium.

LORELEI  
...Shit. OK, um... Listen, we can-  
we can double up the families. Two,  
maybe three to an apartment, but I  
don’t know how we... _Ismael_ , can  
you help me here?

ISMAEL  
I’m gonna make another call.

  
INT. XAVIER MANOR - SALEM CENTER, NY -- CONTINUOUS

PETER SKETCHES in a notepad while Jean sits next to him on the couch, flipping channels on the TV. Jean’s phone BUZZES.

JEAN  
Hello?

ISMAEL (ON PHONE)(O.S.)  
Jean. It’s Officer Ortega.

Jean sits up.

  
INT. DINER - OTTUMWA, IA -- DAY

Two SIZZLING EGGS are scooped up from the griddle and dropped on a plate. A WAITRESS carries the breakfast platter into the dining room, past Forge who stands reading a BULLETIN BOARD posted on the wall. She places the plate in front of Ororo, who’s seated at a table with the Professor.

**CHYRON: OTTUMWA, IOWA**

ORORO  
Thank you so much.

The Waitress avoids eye contact, quickly walking away. Ororo lifts her TOAST and sees a WAD OF SALIVA stuck underneath it.

ORORO (CONT’D)  
Suddenly, I’m not so hungry.

Ororo pushes the plate away as Forge joins them, dropping a FLYER on the table. It reads, “STAND UP TO THE MUTANT MENACE”. Ororo picks it up.

FORGE  
Looks like we’re popular. Think  
they want your autograph, Charles.

Forge gestures to a table across from them where TWO DINERS point and stare. The Professor barely looks up from his NEWSPAPER.

PROF. XAVIER  
The one on the left read one of my  
books, actually. He can't remember  
which, but he burned it at a school  
gathering last fall.

FORGE  
Still read it.

ORORO  
(re: flyer)  
This is today.

FORGE  
‘Bout an hour West of here. You  
thinkin’ what I’m thinkin?

ORORO  
I’m sure we’ll be very welcome,  
judging by our reception here.

FORGE  
We can blend if we need to.

ORORO  
I don’t blend. As a matter of  
principle.

The BELLS above the door ring. Agents Cooper and Rinehart enter the diner. They walk up to the Professor.

ORORO (CONT’D)  
Can we help you?

Agent Cooper flashes a BADGE and GOVERNMENT ID.

AGENT COOPER  
I’m Special Agent Valerie Cooper,  
with the Commission on Superhuman  
Activities, operating out of  
Washington D.C.. Dr. Xavier, we’d  
like to speak with you.

FORGE  
CSA? Never heard.

AGENT RINEHART  
We’re new.

AGENT COOPER  
I’m moonlighting, day job is FBI.  
Have you heard of that?

PROF. XAVIER  
May I ask what this would be  
regarding?

AGENT COOPER  
Well, it’s not every day that we  
have a mutant-related multiple  
homicide, and then find the world’s  
most famous mutant sympathizer  
sipping decaf nearby.

FORGE  
Who told?

AGENT RINEHART  
This is not a request.

Ororo looks to the Professor, who acquiesces.

  
EXT. MUTANT TOWN HIGH-RISES -- DAY

Scott, Jean and Ismael stand across the street from the high-rises. The crowd has spread out across the front lawn, setting up camps.

ISMAEL  
It was real ugly out here before.  
But Maggot and some others helped  
us get things under control.

SCOTT  
Maggot?

ISMAEL  
Japheth... Some of us call him  
Maggot. If you knew him you’d get  
it.

JEAN  
All cause of Iowa.

ISMAEL  
The more people, the better the

chance we all get rounded up. And  
that’s if it doesn’t get violent  
first. You need to take these  
people.

JEAN  
Officer, we don’t... We’re in a  
house. It’s a _big_ house, sure, but--

SCOTT  
Who runs this place?

ISMAEL  
Angelo Unuscione. He’s organized  
crime. And a mutant.

SCOTT  
How do we find him?

Jean turns to Scott, concerned.

JEAN  
Scott, you can’t be serious?

ISMAEL  
No, hey listen. I just wanna get  
these people somewhere safe.

SCOTT  
So do I.

Jean gets in the middle of them.

JEAN  
Look, Scott and I are gonna talk it  
over. Weigh out options. You’ll  
hear from me soon, I promise.  
(to Scott)  
OK?

Scott nods, starts down the street towards the Professor’s ROLLS ROYCE. Jean follows.

ISMAEL  
Yeah... Quick, though.  
(beat)  
And hey... He’s at the Wildkat  
Klub, usually. Just around the  
corner.

Scott nods. Then climbs in the car.

  
INT. FBI OFFICE - KIRKSVILLE, MO -- DAY

The Professor sits beside an empty cubicle. Around him, the office is clearly in crisis mode, everything happening in double-time. Agent Cooper approaches, CUP OF COFFEE in hand.

AGENT COOPER  
Can I get you something?

PROF. XAVIER  
I’m quite alright, thank you.

Agent Cooper takes a seat at the cubicle desk.

AGENT COOPER  
You know, I read your book. Both of  
them actually. Cited the first in  
my doctoral thesis, read the second  
on the beach one summer.

PROF. XAVIER  
Well, I’m flattered. Background in  
genetics?

AGENT COOPER  
Psychology, actually. I used your  
chapter in “The Mutant Diaspora”  
regarding inclusion. About how  
mutantcy will ultimately challenge  
our understanding of in-group/out-  
group dynamics. It’s fun stuff.

PROF. XAVIER  
Something tells me you may be in  
the wrong profession, Agent Cooper.

AGENT COOPER  
Well... Now who’s the flatterer?  
(beat)  
What’re you doing here, Charles?

PROF. XAVIER  
I was quite disturbed by news of  
the attack. And equally disturbed  
by thoughts of what might happen to  
innocent mutants in the aftermath.

AGENT COOPER  
So you’re aware of anti-mutant  
extremist groups in the area?

PROF. XAVIER  
I am here to educate myself.

Agent Cooper reaches down to a briefcase at her feet. She pulls out a THICK FILE FOLDER, full of documents. Slides it toward the Professor.

AGENT COOPER  
The Friends of Humanity were  
founded a few miles from here.  
They’re the biggest, but we’ve got  
chatter throughout the region in  
support of a number of others: The  
Purifiers, the Sapien League.  
There’s a chance one was involved.  
(re: folder)  
Feel free.

The Professor opens the folder, glancing through.

PROF. XAVIER  
Thank you.

AGENT COOPER  
We’re not all out hunting, Charles.  
But at the same time, there was a  
mutant attack this morning. We kept  
it out of the news but, someone  
paused our minds. For 32 minutes,  
near as we can tell.

PROF. XAVIER  
And how exactly is that an attack?

AGENT COOPER  
Well, I was about to sip my coffee  
when it happened. If it was a  
second or two later, would my gag  
reflex have still worked if my  
brain was stopped? Or would I have  
choked to death on scalding hot  
dark roast?

The Professor closes the folder. Agent Cooper leans back.

AGENT COOPER (CONT’D)  
Look, I get it. I know your schtick  
and honestly, I’m a fan. Mutantcy  
is at worst a double-edged sword,  
that will propel humanity as much  
as it _may_ endanger it. But, right  
now, for the sake of saving lives,  
can we both just agree it’s a  
 _sword_. And move on.

The Professor’s brow furrows. He concentrates on Agent Cooper, listening to her mind.

AGENT COOPER (CONT’D)  
 _{He’s gonna walk. Shit, I played  
this wrong. Should’ve led with the  
Bible.}_

The Professor relaxes.

PROF. XAVIER  
How can I be of assistance?

Agent Cooper opens a drawer in the desk and pulls out KURT’S BIBLE in a clear plastic EVIDENCE BAG, places it on the desk.

AGENT COOPER  
We recovered this from the scene.  
Mean anything to you?

The Professor carefully examines it.

PROF. XAVIER  
German?

AGENT COOPER  
Yeah. Not familiar?

PROF. XAVIER  
No. I’m sorry.

She hands the Professor a bag with the MAGAZINE PAGE in it, he sees his photo with the German Chancellor.

AGENT COOPER  
This was inside it. Folded with  
care. We believe it belonged to the  
killer. We tried fingerprints, but  
the only ones we found were huge,  
misshapen, barely human.

PROF. XAVIER  
I’m sorry, I don’t know what to  
make of this.

AGENT COOPER  
You didn’t come out here to meet  
anyone?

PROF. XAVIER  
I wish I had. Maybe it could’ve  
changed things.

AGENT COOPER  
Yeah. Near as we can tell the  
killer was headed East. If you’re  
not here to meet them, our best  
guess is that they’re headed to New  
York. To find you.

The Professor studies the page, at a loss. Agent Cooper studies the Professor.

AGENT COOPER (CONT’D)  
I’m gonna place a security detail  
at your place of residence. I’ll  
need your contact information, as  
well as the info for any people  
you’re traveling with.

PROF. XAVIER  
Thank you. There are... Also people  
at my house now, that should be  
alerted.

Agent Cooper looks up at him, suddenly solemn.

AGENT COOPER  
Are they registered?

The Professor focuses again.

AGENT COOPER (CONT’D)  
 _{Come on dude, let me do right by_  
 _you.}_

PROF. XAVIER  
No.

Agent Cooper nods. Stands.

AGENT COOPER  
OK. Why don’t you give them a heads  
up then. I’m gonna arrange a ride  
back for you. I’m briefing D.C. in  
ten, the detail will get sorted  
shortly after.  
(beat)  
And hey... Let’s do this again  
sometime.

She walks out of the cubicle.

  
INT. TRASK A.I. - SAN FRANCISCO, CA -- DAY

TRASK leads Gyrich through the startup’s all glass offices, past other 20-SOMETHINGS in t-shirts and flannel, sipping ENERGY DRINKS and playing FOOSBALL in the rec room. Gyrich looks around, skeptical.

**CHYRON: SAN FRANCISCO, CALIFORNIA**

TRASK  
So I see I’m below the Senator’s  
paygrade now.

GYRICH  
Crises require adjustments. I  
wouldn’t take it personal.

TRASK  
Oh, I was surprised you guys were  
interested at all. It’s been kinda  
hard to get D.C. to take us  
seriously, but... I think we both  
know that’s about to change.

Trask leads Gyrich into his back office.

  
INT. BACK OFFICE/TRASK A.I. -- CONTINUOUS

Trask slides behind his desk, failing to hide his widening grin. Gyrich takes the seat across.

TRASK  
So!

Gyrich cocks his head.

GYRICH  
So...

TRASK  
What have, uh... What have you got  
for me?  
(off Gyrich’s confusion)  
You’re here to offer me something?  
 _Right_? You’re making me a-- That’s  
what the VCs all said, meetings  
like this...

GYRICH  
An offer for what?

TRASK  
The Wideawake algorithm...? I  
assume. Or the, uh... Well...

GYRICH  
The senator barely knows what an  
algorithm is. He sent me because

you said you can track mutants. Can  
you do that?

TRASK  
Well kinda, yeah. Based off  
demographic data for now, but  
that’s not really the way to do it,  
 _ideally_. We need the research on  
genetic markers to come in, so--

GYRICH  
And you were expecting an offer?

TRASK  
Tracking mutants isn’t your  
 _problem_. Sir... All due respect.  
(beat)  
Your problem is keeping mutants  
once you catch them. Policing is  
only as effective as the jails are.

Trask opens the LAPTOP, resting on the table. Begins typing.

TRASK (CONT’D)  
Look... This was a few days ago at  
a detainment camp in Atlanta.

He spins the laptop around to show Gyrich FOOTAGE of the Brotherhood freeing Rogue, Toad and the others from the camp.

TRASK (CONT’D)  
One of the mutants pulled two  
watchtowers 30 feet underground.  
With his _mind_. Until the government  
has an answer to this, nothing else  
matters. But no one is trying to  
solve that problem.

GYRICH  
So what’re you saying?

TRASK  
I’m saying, what if you had a  
watchtower that could pull itself  
up out of the hole?

Trask spins the laptop back towards himself and CLICKS a few more buttons. He then spins it back around to show ARTWORK AND SCHEMATICS TITLED “SENTINEL,” depicting a giant humanoid robot looming over a detainment camp. Gyrich leans in.

TRASK (CONT’D)  
It’s dope, right?

GYRICH  
And what happens when you have a  
mutant that can turn off the power  
to it? Or control metal?

TRASK  
Yeah, look, you’re never gonna  
build something that can hold every  
member of an infinitely evolving  
mutant populace. But you don’t need  
to, you’ve _never_ needed to. That’s  
not how cages work.  
(leans in)  
All you need to do is kill enough  
of the ones who try to get out, so  
that the other ones don’t.

Beat. Gyrich leans back, pensive.

GYRICH  
Do you guys have a room with some  
privacy? I need to make a few  
calls.

TRASK  
...Yeah. We got some break out  
rooms, just down the hall.  
(beat)  
And I-I was speaking _metaphorically  
_ just then. You know that, right?

Gyrich stands.

GYRICH  
When I come back, I’ll need a  
number for how much it would be to  
build these things.

TRASK  
Wha-Really-- Well... How many?

GYRICH  
Enough to adequately outfit all the  
detainment centers in the top 15  
largest cities in the U.S., within  
6 months.

TRASK  
...OK.

Gyrich turns and heads for the door.

TRASK (CONT’D)  
Oh, and uh... Hey. For the record,  
Kelly’s got my vote. I actually  
 _read_ the whole MRA bill. That’s a  
ballsy piece of legislation, man.

GYRICH  
Kelly didn’t write the bill. I did.

Gyrich walks out. Once he’s gone, Trask thrusts his fists into the air.

  
EXT. FOREST/KRAKOA -- DAY

Rogue’s bare feet CRUNCH on top of the leaves on the forest floor. She walks through the trees in her underwear, running her hands across the TRUNKS and BRANCHES, humming to herself.

She hears a CRUNCHING behind her. She quickly turns, covering her chest with her arms. Toad stands behind her, an embarrassed look on his face.

TOAD  
Hey. Hey. Sorry, I wasn’t--

ROGUE  
No, it’s OK. Just... Stay there.

Rogue shuffles towards a pile of her clothes at her side. Dresses herself. Toad averts his eyes.

TOAD  
How’re you likin’ it here?

ROGUE  
It's nice. Reminds me of the last  
place I lived, before... Before  
everything changed. Just miss the  
feel of stuff, you know?

TOAD  
( _laughing_ )  
No, not the woods. I meant.. All of it.

ROGUE  
Why? What’s goin’ on?

TOAD  
‘Cause I think I’m gonna go.

ROGUE  
What? What’re you talkin’ about?

Rogue’s smile fades as she finishes dressing. She places a gloved hand on Toad's shoulder, he turns to her.

TOAD  
I ain’t-- I ain’t really with all  
this. This revolution, bustin’  
people outta-- Shit... It ain’t me.

ROGUE  
Three square meals, right? Why not  
here?

TOAD  
I’m serious. I’m out. And I don’t  
think this is you either. I think  
maybe you should come with me.  
(beat)  
I haven’t figured out how to leave  
yet, but you know... Water on all  
sides, I’m good with that. And I  
can help you...

ROGUE  
Toad, I...

TOAD  
Just think about it, a’ight? Sleep  
on it. But, I’m not gonna wait much  
longer.

Toad backs away, heading back into the woods. Rogue buries her head in her hands, sighing.

  
EXT. ROOSEVELT HIGH SCHOOL - DES MOINES, IA -- DAY

Forge and Ororo approach, in lockstep with a CROWD OF AREA FAMILIES. Storm has changed into a sedate jeans and jacket ensemble, her long white dreads are hidden beneath a black head wrap and trucker cap. But she still walks like royalty.

FORGE  
Told you, you could blend.

ORORO  
I’m glad you’re enjoying this.

Forge’s eyes move to the parking lot.

FORGE  
Hold on.

He leads Ororo away from the crowd and over to where Risman’s white van is parked. Forge crouches in back of the vehicle.

FORGE (CONT’D)  
Cover me.

Ororo steps in front of him, blocking him from view. Forge removes his glove and runs his cybernetic hand across the back tires of the van, before consulting the screen in his forearm. He then uses the hand to scan the LICENSE PLATE.

FORGE (CONT’D)  
Tires are consistent with the  
tracks from the crime scene. This  
might be our van.

He holds out his forearm so Ororo can see the screen. An image of a vehicle registration card appears.

FORGE (CONT’D)  
A company vehicle, registered to  
Crusade Studios.

ORORO  
Familiar?

FORGE  
Anti-mutant Bible thumpers. The  
head of it’s ex-military. I think  
we’re in the right place.

  
INT. GYMNASIUM/ROOSEVELT HIGH SCHOOL -- DAY

JON STANDISH, 40s, a man in a hunting jacket, stands on a stage tucked away in the side of the gym, holding a MICROPHONE and a CLIPBOARD. Forge and Ororo make their way through the crowd surrounding the stage.

STANDISH  
OK everyone, now we want to work in  
an orderly fashion. We have a sign-  
up sheet here for everyone that is  
interested in our new neighborhood  
mutant watch. Please specify-- _At_  
 _minimum_ \-- When you’re available to  
meet and some form of contact info.

Forge looks over and sees a man with a bright white baseball cap on and sunglasses. He nudges Ororo, who looks.

Risman stands near the front of the crowd. He looks around behind him, glancing past Forge and Ororo.

Forge gestures to his forehead, signalling, “the hat.” Forge and Ororo work their way closer to Risman.

STANDISH (CONT’D)  
If you’re a gun owner, please let  
us know that too. You are  
definitely welcome, we’re gonna be  
doing more than bake sales here.

The crowd LAUGHS. Risman glances around again and sees that Forge and Ororo are gone. He keeps turning, and sees them directly behind him, much closer. He pulls his hat down and calmly moves toward the exit. Ororo and Forge move quickly to follow him.

  
INT. STAIRWELL/ROOSEVELT HIGH SCHOOL -- CONTINUOUS

Risman takes the stairs two at a time, then exits out. Forge and Ororo enter just in time to see the door swinging shut.

  
EXT. STREET -- CONTINUOUS

Risman walks swiftly down the small town street, hands in his pockets. Forge and Ororo tail him.

FORGE  
Hey, excuse me?

Risman breaks off into a run down the street. Forge and Ororo immediately give chase.

Risman ducks into an alley. He’s fast. But Forge and Ororo are faster, and they’re gaining on him.

Risman shoots across a busy street, bringing MULTIPLE CARS to a SCREECHING HALT. Forge and Ororo follow across the street, to the dismay of the DRIVERS.

  
EXT. PARKING LOT/GROCERY STORE -- CONTINUOUS

Risman sprints in while looking back over his shoulder. He CRASHES into a SOCCER MOM pushing a GROCERY CART, bowling them over.

Forge and Ororo are right behind him and they slow to a stop. Other SHOPPERS stop loading and unloading their cars to look.

Risman pushes himself up from the ground, points an accusatory finger at Forge and Ororo, hysterical.

RISMAN  
Mutants! They’re mutants! They’re  
trying to kill me!

FORGE  
No, hey buddy-- I had a question.

RISMAN  
Mutants! I saw them!

SOCCER MOM  
Stay back! Please!

SHOPPER 1  
Get away from them! Or I’ll call  
the police!

Forge puts his hands up.

FORGE  
OK. _OK_... We’re leaving.

A SHOTGUN RACKS loudly. Forge and Ororo turn to see a middle-aged HUNTER, climb out of his pickup truck, gun drawn.

HUNTER  
Who said you could leave, mutie?

FORGE  
Sir, we’re not mutants. This is a  
misunderstanding.

Ororo turns to Forge.

FORGE (CONT’D)  
Ororo... Don’t.

Ororo’s eyes CLOUD OVER.

ORORO  
I blended. I’m done.

A BOLT of LIGHTNING crashes to Earth right in front of the Hunter, who flies back slamming into his truck.

Ororo RIPS her head wrap off, as a GUST of wind blows through her dreads and pushes all the Shoppers back. Another lightning strike follows, directly into the palm of Ororo’s hand. She holds it, deafening THUNDER CRACKLING around them, and then closes her fist. And it’s gone.

The Shoppers look up with a mix of horror and awe. Ororo takes a few steps forward.

ORORO (CONT’D)  
Please understand that this is  
mercy.

And with that she walks away, Forge following behind her.

  
INT. KITCHEN/XAVIER MANOR - SALEM CENTER, NY -- DAY

Peter SLICES TOMATOES, SANDWICH INGREDIENTS laid out on the counter in front of him.

A BUZZ. Peter looks behind him to see a CELL PHONE flashing on the kitchen table. He looks at it and sees an incoming call from “Professor.”

PETER  
Scott!

Peter looks around, no answer. The buzzing stops and a notification comes up: “5 MISSED CALLS.”

A RUMBLING in the distance. Peter turns again, this time he puts down the knife and walks to the window. Coming up the front lawn is a caravan of BLACK SUVS. Peter steps back.

PETER (CONT’D)  
Blyat’...

  
INT. CEREBRO/XAVIER MANOR -- CONTINUOUS

Scott sits next to the computer console as Jean paces in front of him.

JEAN  
You can’t just blast your way into  
a gangster’s hideout!

SCOTT  
I just said we should talk to him.

JEAN  
And what’re you gonna say to him?

SCOTT  
I’m gonna tell him what he’s doing  
is wrong, and that he needs to  
stop.

JEAN  
Oh OK. And when he says no?

Scott shakes his head. Beat.

JEAN (CONT’D)  
Scott, we are not police. We are  
not soldiers. We’re just a couple  
people who can do weird shit.

SCOTT  
And Peter and Illyana?

JEAN  
That was-- We didn’t know what we  
were doing! We got lucky. If we get  
involved in this, we’re just gonna  
make it worse for all those people.

SCOTT  
You don’t have to come with me.

The two stare each other down. The metal doors SWOOSH open and Peter appears in the doorway.

PETER  
Someone’s here.

Scott turns to the computer console. He pulls up the exterior cameras and sees the SUVs pulling up at the front door.

SCOTT  
Get Illyana, bring her down here.

  
INT. XAVIER MANOR -- DAY

Scott opens the front door to see a half dozen FEDERAL AGENTS on his door step. Jean stands behind him. The lead Federal Agent flashes his badge.

FEDERAL AGENT  
Good afternoon. We’ve identified a  
credible threat to this residence.  
We’re here to secure a perimeter,  
so we need everyone in the  
residence to stay put until further  
notice. Do you understand?

Scott turns and looks at Jean, who’s trying not to smirk.

JEAN  
I swear. Had nothing to do with it.

  
INT. KELLY’S HOME OFFICE/KELLY’S HOME -- NIGHT

Stryker leans agains the wall, arms folded. Kelly sits at his desk, his head in his hand. A long, silent beat.

SEN. KELLY  
So you’re telling me that--

STRYKER  
Yeah... yeah.

Beat. Then SUDDENLY in a cry of anguish Kelly clears his desk with his outstretched arm, sending STATIONARY, a LIQUOR BOTTLE, and a DESK LAMP flying. Stryker doesn’t flinch.

  
INT. HALLWAY/KELLY’S HOME -- CONTINUOUS

Anne stands perfectly calm, just outside of the door, listening to the calamity on the other side.

She watches as RUNT, a tiny puppy, trots down the hall and stops before YIPPING at the commotion. Anne picks Runt up, taking him down the hallway.

  
INT. KELLY'S HOME OFFICE/KELLY'S HOME -- CONTINUOUS

Kelly stands hunched over, panting. Stryker hasn’t moved.

SEN. KELLY  
You-- You-- 

REV. STRYKER  
Senator, now is not the time--

SEN. KELLY  
No! You-- Shut up! You _shut_ your--  
I _never_ should have trusted you!  
Everyone told me to, but I knew it.  
I knew this would happen, I knew  
you were a hateful, _hateful_ man.  
And what hateful men like you never  
understand is violence only begets  
more violence!

REV. STRYKER  
Senator, quite frankly, we’re  
beyond that point now. The violence  
is here. It’s been here.  
(beat)  
Which is why I need you to let me  
handle--

SEN. KELLY  
No. No! I’m done with you. What are  
you kidding me? Why are you still  
in my house?

REV. STRYKER  
 _You_ asked _me_ to do this. So you are  
not done, until this is done.

Kelly sits back down, defeated. He reaches down and picks the liquor bottle up off the floor. Takes a long sip.

SEN. KELLY  
Cut to the chase.

REV. STRYKER  
I have another asset to put in the  
field, but I need access to all  
your intelligence. I need to know  
where our boy’s been, where he’s  
goin’, who’s he with--

SEN. KELLY  
They know where he’s going. I got a  
briefing... New York. They think  
he’s headed to Charles Xavier’s.  
There’s a detail at his house now.

Stryker pushes off the wall, paces.

REV. STRYKER  
So have them pull the detail.

SEN. KELLY  
...What?

REV. STRYKER  
He won’t hit the location if it’s  
crawling with security. Then he’ll  
be in the wind again, and we’ll  
lose our window of opportunity.

SEN. KELLY  
What about Xavier?

Stryker walks forward. Leaning down to look Kelly in the eye.

REV. STRYKER  
Our asset will get to him first.  
(beat)  
Senator... We need to see this  
through.

Kelly looks up at him, uneasy.

  
INT. KITCHEN/KELLY’S HOME -- NIGHT

Anne enters to see Sharon washing the dishes in the sink. Sharon hears her and turns.

SHARON  
Oh, hi!

ANNE  
Sorry. Am I disturbing you?

SHARON  
No, don’t be silly. You are  
William’s assistant, right? I’m  
sorry, I forgot--

ANNE  
Anne.

SHARON  
Of course.  
(beat)  
Boys kick you out?

ANNE  
No, I actually just... Wanted to  
see what you were doing?

SHARON  
Well, aren’t you sweet. Not much to  
see though, just tidying up some.

Anne takes a seat at the kitchen counter.

ANNE  
How are you feeling about the  
campaign?

SHARON  
I grow more and more proud of that  
man everyday. He’s my hero. And I  
really mean that.

ANNE  
That’s so nice.

SHARON  
Yeah... Truth is it’s not easy  
being married to your hero. When we  
got married I was excited about  
having the ear of a powerful man.  
And for a time I did, I guess. But  
he’s got so many experts and  
advisors now, if he asks me what I  
think I just say whatever they say.  
And I don’t even think he notices.  
Sometimes I confuse myself with my  
own shadow. I’m sure you know how  
that feels.

Anne nods, smiling. A YIPPING from the backyard. Sharon turns to see Runt on the other side of the screen door, scratching to get inside. 

SHARON (CONT’D)  
How the hell... I’m sorry, one  
moment.

Sharon DRIES her hands as she walks to the door. Anne stands.

  
EXT. BACKYARD/KELLY’S HOME -- CONTINUOUS

Sharon opens the screen and steps out. Runt backs away, cautious.

SUDDENLY a KNIFE IS PULLED across Sharon’s throat, SPRAYING BLOOD onto the grass. Anne catches Sharon as her legs give out, struggling to scream or breathe, then drags Sharon’s body to the side of the house.

Sharon’s head hits the ground with a THUNK right at Anne’s feet, as BLUE SCALES flutter into view on Anne’s legs. The fluttering becomes a WAVE as Anne transforms into MYSTIQUE, a semi-nude, willowy woman with deep blue skin, yellow pupils, and fiery red hair.

Mystique grabs Sharon’s thumb and STEPS on the joint with her heel, breaking the bone with a SNAP. She then saws off the thumb with the knife.

She crouches to push the body deep into the bushes. When she rises she looks exactly like Sharon, clothing and all. She runs her hands over her blouse to straighten it, smoothes her hair, before dropping the thumb in her pocket.

  
INT. KITCHEN/KELLY'S HOME - CONTINUOUS

Mystique/Sharon grabs Sharon’s phone from the counter and uses the severed thumb to open it. She enters SETTINGS and resets the password and thumb print.

She opens her texts and selects “NEW MESSAGE.” Dials in a number, then types: “It’s Raven. Out of Stryker. In Kelly campaign.” Hits send.

  
SEN. KELLY  
Honey!

Mystique/Sharon drops the thumb down the sink, just as she spins around to see Kelly standing in the doorway. She smiles as she hits the switch for the trash compactor. It WHIRS.

MYSTIQUE/SHARON  
Yes?

Beat.

SEN. KELLY  
Everything OK?

MYSTIQUE/SHARON  
Yeah. Of course.

SEN. KELLY  
You didn’t hear any of that, did  
you?

Kelly motions down the hall.

MYSTIQUE/SHARON  
Hear what?

Kelly enters the kitchen and walks up to his wife, throwing his arms around her. She embraces him back.

SEN. KELLY  
I’m in deep shit, Sharon. I don’t  
think I can keep doing this.

MYSTIQUE/SHARON  
Oh, honey... Just start at the  
beginning. 

Mystique/Sharon glances to the side and sees the screen door still half open. Runt sits just outside, refusing to enter.

  
INT. DINING ROOM/STANDISH HOME - DES MOINES, IA -- NIGHT

Standish cuts a thin piece of his PORKCHOP, shovels it into his mouth. Risman watches from across the table, taking a bite of a glazed carrot. MRS. STANDISH and two STANDISH KIDS eat quietly as well.

RISMAN  
This is delicious.

MRS. STANDISH  
Thank you. Just glad we can give  
you bit of peace after what you  
went through today.

RISMAN  
I appreciate it. I’ll be out of  
your hair in the morning.  
(beat)  
Do you have a computer I could  
maybe use? There’s some work I’m  
looking into, need to check my  
email.

MRS. STANDISH  
Of course, I’ll show you after  
dinner.

Risman nods, smiles.

STANDISH KID 1  
What could they do? The mutants  
that attacked you?

MRS. STANDISH  
Kyle! That’s impolite.

STANDISH  
Mutants aren't cool, boy. They're  
abominations.

RISMAN  
You know, I’ve actually worked some  
with William Stryker. He’s taught  
me a lot about mutants. I could  
teach your neighborhood watch a few  
things, if you’re interested.

The Standish family all exchange worried glances.

STANDISH  
How about tomorrow night?

  
INT. ARENA/KRAKOA -- NIGHT

Rogue walks down a dark corridor that opens into the Council Chamber. Vapor, EXODUS, AVALANCHE, and Blob sit around the large metal table discussing. Rogue clears her throat.

ROGUE  
Hi. Um, Vapor. Or... Amelia.

VAPOR  
Yeah?

ROGUE  
Can I talk to you about something?

  
INT. STUDY/STANDISH HOME - DES MOINES, IA -- NIGHT

Risman sits in the darkened room on the family’s decade-old COMPUTER. He consults a NOTEPAD resting on the desk with cryptic instructions scribbled on it.

He opens a web browser and types, “PH_lanX.onion.” A DARK WEB PORTAL opens on screen.

  
INT. SUITE/THE HELLFIRE COURT - WASHINGTON D.C. -- NIGHT

A CELL PHONE VIBRATES on a coffee table next to a GLASS MIRROR and HALF OF A STRAW.

SCRAMBLER, 30s, a slender Korean man still in a suit and tie, sits up from the couch, groggy. TWO WOMEN are asleep next to him, both in Victorian-era BUSTIERS and GARTERS. One of them, STACY, has the skin of a snake.

**CHYRON: WASHINGTON D.C.**

He reaches for his phone and opens a notification from his PH_lanX app. It reads: “Omega Red Job 750K 36 HRS CASUALTIES ACCEPTABLE CONFIRM.”

Scrambler rubs his eyes open, and types back “CONFIRM,” then climbs off the couch and walks down the hallway, stepping over two more ornately dressed WOMEN on the way.

  
INT. BEDROOM/THE HELLFIRE COURT -- CONTINUOUS

The door cracks open. A SHAFT OF LIGHT strikes the edges of a naked, hulking, gray-skinned man, with long ratty blonde hair hanging down his back, sitting in an armchair. This is OMEGA RED, 40s. Scrambler sticks his head in.

SCRAMBLER  
Arkady... We got a job.

OMEGA RED  
Come back, one hour.

Scrambler looks to the other side of the room. A YOUNG WOMAN is sitting in the bed, sheets pulled to her chin. Wide-eyed, trembling. Scrambler smirks.

SCRAMBLER  
Take your time.

He closes the door.

  
INT. HABITAT HALLWAY/KRAKOA -- NIGHT

Pyro, Thunderbird, Vertigo and Blob make their way down the hallway. Ready for business.

  
INT. TOAD'S HABITAT/KRAKOA -- CONTINUOUS

The door flies open. Toad wakes with a start, jumping up from bed. He sees Pyro, Thunderbird, Blob and Vertigo enter.

Vertigo extends an arm toward Toad. Twists her hand like a KNOB.

TOAD’S POV: His vision BLURS as the world DISTORTS, turning inside out.

Toad’s legs give out. He PUKES.

BLOB  
Get his legs! Don’t let him kick or  
jump.

Thunderbird lifts Toad from his bed and BODY SLAMS him on the cold floor.

Blob kneels, then lies with his massive side resting across Toad’s legs. Thunderbird grabs Toad’s arms, stretches them back, as Pyro stands over him.

PYRO  
Toadie, Toadie, _Toadie_... What’re  
you doin’ to us, mate? We gave you  
fruit, I thought we were bonding.

TOAD  
What is this?

PYRO  
We heard you were considerin’ a  
little vacation. But that won’t do.

TOAD  
I’m not gonna tell where we are! I  
wasn’t gonna tell anyone!

PYRO  
Don’t worry about it. ‘Cause you  
don’t wanna go anywhere, do you?  
No! Why would you? We’re all the  
world’s gonna let you have.  
Brotherhood. Family. And Toadie...  
You can’t leave family.

VERTIGO  
Open his shirt.

Thunderbird takes both Toad’s wrists in one hand, and then RIPS Toad’s shirt open with the other hand.

Pyro FLIPS open the nozzle on his wrist flame thrower. He fires and a BURST OF FIRE escapes.

TOAD  
Please... _Please_!

PYRO  
You belong to the cause now.  
Property of Magneto. We’re just  
gonna make sure you remember that.

Pyro fashions the flame into a SCALPEL. He lowers it.

  
INT. ANOTHER HABITAT HALLWAY/KRAKOA -- NIGHT

A teary-eyed Rogue winces as Toad’s SCREAM echoes down the corridor. Vapor sits with Rogue, squeezing her hand.

  
EXT. XAVIER MANOR - SALEM CENTER, NY -- DAY

Logan and Kurt sit on the bike, looking down the block at a line of BLACK SUVS outside of the entrance to Xavier Manor.

LOGAN  
...So when did you realize they had  
your Bible?

KURT  
After I gave you the “juicy” pants.

Logan sighs.

LOGAN  
I wouldn’t have had a better plan  
anyway.

KURT  
So what do we do?

Logan turns the ignition on the bike. It HUMS to life.

LOGAN  
Wait it out. Got any friends in New  
York?

KURT  
Nein.

LOGAN  
I got a couple.

  
INT. DELICATESSEN - BRONX, NY -- DAY

Ismael sits across from Charlotte in a booth, nervously tapping on his COFFEE MUG. Distracted. Charlotte digs into her BREAKFAST SCRAMBLE.

CHARLOTTE  
How’s Angie?

ISMAEL  
Good.

CHARLOTTE  
Not scared? With everything goin’  
on?

ISMAEL  
Yeah. Scared.

CHARLOTTE  
Yeah. Timmy won’t shut up about it.  
He’s not sleeping, so now _we’re_ not  
sleeping. Georgia wants to put him  
in therapy over it, you know how  
she gets.  
(off Ismael’s aloofness)  
You a’ight, Iz?

ISMAEL  
 _Yeah_. Sorry...

CHARLOTTE  
We don’t have to do kids talk. I  
get it. Some days, last thing--

ISMAEL  
Angie’s not good. She’s not. I  
uh... I just--

Charlotte looks up, eggs resting on her fork. Ismael fidgets nervously, looking around.

CHARLOTTE  
You wanna go somewhere?  
(beat)  
Iz?

Ismael leans forward, softly.

ISMAEL  
She’s a mutant. Yeah. She’s got  
 _wings_. We had to move, ummm... I’m  
living outta this place that, uh...  
It’s not safe. For her. _For me_. And  
now these people might go after...  
I don’t-I don’t know. And you said  
the thing about the, “huddled  
masses” the other day, and I was  
just thinkin’...

Charlotte reaches across the table and places a hand on Ismael’s arm. Tears well in Ismael’s eyes.

CHARLOTTE  
I’m not gonna tell.

ISMAEL  
Thank you. Can you just... Please.  
If something happens to me...  
You’re a good mom and--

CHARLOTTE  
Ismael. I got you.

Ismael nods, suddenly gets up and walks toward the bathroom in back. Charlotte INHALES sharply, fighting tears herself.

  
INT. WILDKAT CLUB - LOWER EAST SIDE, NY -- DAY

Lorelei dances on stage, her HAIR BRUSHING the cheeks of a smiling CUSTOMER as the song ends.

DJ (O.S.)  
Give it up for Lorelei!

UNUS LIGHTS A CIGAR, watching Lorelei finish from the back of the club.

UNUS  
Lori, doll. Bring me a scotch.

Lorelei gives him the FINGER and keeps walking as a WISE GUY approaches Unus.

UNUS (CONT’D)  
(to Lorelei)  
Oh! What’s your problem? You like  
your job?

WISE GUY  
Unus, some guy came around back for  
you. Old family friend, he says.

Unus seethes, but then gets up.

UNUS  
Yeah, Alright... Nerve of this  
broad.

  
INT. BACKROOM/WILDKAT CLUB -- CONTINUOUS

Unus enters, followed by the Wise Guy. Two other Wise Guys guard the door. Across the room Logan turns and sees Unus, Kurt crouching cautiously behind him. Unus smiles wide, he approaches Logan with open arms.

UNUS  
The Wolve-frickin’-rine! How are  
you my friend? Get over here!

LOGAN  
Long time, Angelo.

The two men embrace. Then Unus steps back, holding Logan by the shoulders. He looks past him to Kurt.

UNUS  
Who’s Mr. Blue-aboo-dee-aboo-die  
over here?

LOGAN  
Just a kid. I owe him.

Unus walks over to a FOLDING CHAIR on the wall, pulls it in the middle of the room and sits on it backwards.

UNUS  
Most honorable man I ever met in  
your line of work.  
(to Wise Guys)  
This is the most dangerous man on  
all four continents, standing right  
in front of you. Done some  
 _impossible_ jobs for me, _and_ for my  
father.  
(to Logan)  
That why you in town? Workin’?

LOGAN  
Just hoping for a place for me and  
the kid to crash. Shouldn’t be more  
than a couple nights.

UNUS  
What’s in it for me?

LOGAN  
(shrugs)  
Help out an old friend.

Beat.

UNUS  
Ahhh! You’ll owe me! Honor and all  
that.  
(beat)  
Yeah, no problem. There’s two high-  
rises around the corner. I’ll set  
you up... Actually, Nicky’ll walk  
you in. It’s a whole thing over  
there, this guy’s handlin’ it, but  
I got you.  
(beat)  
That’s it? No drink? Girls?

LOGAN  
I’ll be around.

Unus stands from the chair, he carries it back to a metal desk against the wall. Logan turns to leave. Unus takes a BURNER PHONE from the desk.

UNUS  
Oh!

Logan looks back and sees the phone hurtling towards him. He catches it.

UNUS (CONT’D)  
You better be.  
(to Wise Guy)  
Nicky, take ‘em.

The Wise Guy walks over to Logan and Kurt, leading them out.

  
INT. BEACH/KRAKOA -- DAY

Toad stands in an old t-shirt, feet in the water, looking out at the ocean. Rogue approaches from behind him, the domed structure of the Arena visible in the background.

ROGUE  
Hey... How’re you feeling?

Toad doesn’t respond. Doesn’t turn around.

ROGUE (CONT’D)  
I get it. I wouldn’t wanna talk to  
me either. I just hope you can hear  
me when I say, I was just tryin’ to  
look out for you. Honest to God, I  
was Toad. That’s all I’m tryin’ to  
do.

TOAD  
I ain’t goin’ nowhere, a’ight. You  
can stop.

ROGUE  
This is bigger than both of us. You  
know that, right? It’s not about  
what we are or aren’t, it’s what we  
have to be. For all of us.

Rogue walks a bit closer.

TOAD  
Just...

Toad holds a hand out, bracing against her presence.

ROGUE Can I see it?

Toad paces, suddenly anxious.

ROGUE (CONT’D)  
Toad, I didn’t--

TOAD  
People been fuckin’ with me my  
whole life, you know? Always knew  
why though. Cause I’m _different_ ,  
always been different. Shit made  
sense, you know what I mean?  
(turns to her; crying)  
This don’t make sense. They’re  
supposed to be like me. You’re _just_  
like me.

ROGUE  
I’m sorr--

Toad turns to Rogue and YANKS the neckline of his shirt down. An “M” has been BRANDED into the right side of his chest. Still BLOODY, and open in spots. His shirt is stained RED.

Rogue’s face contorts, but she keeps her composure.

ROGUE (CONT’D)  
Can you come with me? Please?

Rogue extends a gloved hand. Reluctantly, Toad takes it. She leads them back towards the Arena.

  
INT. PITTSBURGH INTERNATIONAL AIRPORT - PITTSBURGH, PA -- DAY

Stryker walks through the airport, PHONE pressed to his ear.

REV. STRYKER  
I have no idea where she is. I  
called the car to the airport  
myself. Can you just ask around,  
this isn’t like her.

PHONE  
I’m asking Reverend, I’m asking...

He arrives at his gate and takes a seat, arranges his bags.

PHONE (CONT’D)  
OK... OK, she left a voicemail on  
Risman’s line this morning. Family  
emergency, somebody fell ill. She  
flew home last night, doesn’t know  
when she’ll be back.

REV. STRYKER  
I’m sorry to hear that. She leave  
an address? It’d be good to send  
something to the family.

He looks up and sees a news report playing on the terminal’s TV. The Federal Agent from earlier is speaking to a room full of reporters. The ON SCREEN LOWER THIRD reads: “CREDIBLE THREAT IN UPSTATE NEW YORK.”

PHONE  
Yeah... Forwarding address is for  
an Irene Adler of Mississippi.  
Would you like me to send--

  
INT. LIVING ROOM/KELLY'S HOME - JEFFERSON HILLS, PA -- DAY

The Intern carries a PHONE directly to Kelly, who takes it.

SEN. KELLY  
Yes?

STRYKER  
Did you pull the detail?

Kelly looks around, nervously. He walks out of the campaign center, past Gyrich. Mystique/Sharon watches him go.

  
EXT. KELLY’S HOME -- CONTINUOUS

Kelly closes the front door behind him.

SEN. KELLY  
William, you need to listen to me.

  
INT. MEN’S BATHROOM/PITTSBURGH INTERNATIONAL AIRPORT -- DAY

Stryker shouts into his phone, alone in the rest room.

REV. STRYKER  
No, you listen to _me_! What we had  
was a closing window. But when you  
don’t listen, that window becomes a  
pinhole.

INTERCUT PHONE CONVERSATION - BACK PATIO/MEN’S BATHROOM

SEN. KELLY  
I’ve eaten in that home. I know the  
man. You can’t expect me to clear  
the path for a mutant-- A _dangerous  
_ mut--

REV. STRYKER  
I expect you to do _what_ I say, _when  
_ I say it you gutless fleck of _shit_!  
We’re talking about an _animal_ here!  
If he’s not coming for Xavier, then  
he’s _coming for us_!

Kelly holds the phone away from his ear, but he’s shaken.

SEN. KELLY  
What do you mean coming for--

A TRAVELER enters the bathroom, alarmed by Stryker’s behavior. Stryker retreats into a stall.

REV. STRYKER  
Make the call. _Do it_!

  
EXT. XAVIER MANOR - SALEM CENTER, NY -- NIGHT

Scott watches as the Black SUVs pull away from the manor, driving off toward the setting sun.

  
INT. CEREBRO/XAVIER MANOR -- NIGHT

Jean sits with Illyana’s head in her lap, stroking the child’s hair. Peter leans against the wall next to Jean.

PETER  
You are good people.

JEAN  
What?

PETER  
You and Scott. I have never met  
people like you before. I wondered  
if people like you could even be  
found. 

JEAN  
It’s nothing, Peter.

PETER  
I want to protect this place. Like  
you protect me and my sister.

Jean looks up, clearly touched. A SWOOSH of the doors as Scott enters.

SCOTT  
They’re gone. We’re clear.

JEAN  
OK. Good.

SCOTT  
I’m going after Unus.

JEAN  
Scott, please...

SCOTT  
Are you coming or not?

Jean lowers her head, looks away. Scott turns to leave.

PETER  
How can I help?

Scott looks back to Peter. Jean exhales, exasperated.

  
INT. BACKROOM/WILDKAT CLUB - LOWER EAST SIDE, NY -- NIGHT

Unus and a few Wise Guys play poker on a fold-out table. Unus throws his cards in. A Wise Guy grins, rounding up the POKER CHIPS for himself. Unus looks at the Wise Guy’s cards.

UNUS  
Two fours, ten high? Your mother.

A GUNSHOT echoes from the other side of the door. Then a SCREAM. More gunfire. They all stand. One Wise Guy pulls out a HANDGUN. Another reaches for a SEMI-AUTO on a table nearby.

A CRACKLING RED ENERGY BEAM blasts the door off it’s hinges.

The Wise Guys FIRE THEIR GUNS into the pitch black doorway, until they CLICk. Out of ammo.

Peter emerges first from the shadows, wearing a BALACLAVA over his face. His black clothes are riddled with bullet holes, Unus notices the metal skin glinting underneath.

Scott follows behind, also dressed in all black with a balaclava on. Scott wears his red glasses over the mask, keeping a hand on them at all times.

UNUS (CONT’D)  
Guys, if this is a stick up, you  
clearly didn’t do your research.

SCOTT  
You the one that runs Mutant Town?

UNUS  
Why? You in real estate, guy?

SCOTT  
You think you’re funny?

UNUS  
I think I’m hilarious. Those masks  
are funny.

Beat.

SCOTT  
Your high-rise experiment is out of  
control. So either get it under  
control or--

UNUS  
Or what? What’re you gonna do, huh?

Unus walks slowly toward Scott. Scott inches back.

SCOTT  
Stay back. I mean it.

UNUS  
What? Were those little fireworks  
you? Huh?  
(beat)  
C’mon, gimme a taste.

Unus LUNGES forward, but Scott RIPS off his glasses and BLASTS Unus. As the beam hits, it BATHES THE ROOM IN RED.

A smiling Unus emerges, his FORCE FIELD clearing a path through the beam.

UNUS (CONT’D)  
This it? I kiss my mother harder  
than this.

He walks right up to Scott and GRABS him by the neck, lifting him off the ground. Scott shuts his eyes and the beam stops. He grasps at Unus’s hand, but to no avail.

Peter steps forward, ready to attack. Unus turns to him, holding Scott out, presenting him.

UNUS (CONT’D)  
Ah ah ahh...

Peter stops in his tracks. Unus turns back to Scott.

UNUS (CONT’D)  
This how you saw it goin’ down  
Captain Do-gooder? You see--

Suddenly Unus’s EYES ROLL BACK in his head. His grip on Scott loosens and Unus and Scott FALL to the ground simultaneously. The Wise Guys all PASS OUT in place as well. Peter turns behind, a look of fear crosses his face.

Jean stands in the doorway. She lowers her hands from her temples, opens her eyes.

Scott COUGHS and gasps on his hands and knees, pulling the balaclava off his face. He gets to his feet and stumbles over to Unus’s unconscious body, lifts Unus’s head by the collar.

SCOTT  
Hey. Get up. _Get up_!

JEAN  
I knocked them out. I don’t know  
for how long.

Scott turns back to Jean, surprised by her presence.

SCOTT  
Wha-- Jean... Well, wake him up.

JEAN  
So he can _kill_ you, Scott?

Scott breathes deep, flustered.

PETER  
You did this to them?

Jean looks at Peter, unsure of what to say.

SCOTT  
Uh, let’s... Rope? Or-or wires. We  
can tie them up, we can take them--

JEAN  
We’re letting them go.

Scott stands looking at Jean.

SCOTT He just tried to kill me.

JEAN  
All those mutants in Mutant Town,  
Unus is the lifeline for every  
single one of them. If he’s not  
around, they will all be back on  
the street or in camps. What do you  
think I’ve been trying to tell you  
this whole time?

SCOTT  
He’s exploiting them.

JEAN  
It doesn’t _matter_! We can’t win  
this!

SCOTT  
No... Look, if we turn him in.  
They’ll detain him, and then--

JEAN  
For what?  
(beat)  
Let’s just go home.

Scott shakes head in disbelief, pacing. Then he lashes out, SLAMMING his fists into Unus’s face. Enraged.

JEAN (CONT’D)  
Scott!

Scott storms off, out the blown-open doorway.

  
INT. ISMAEL’S APARTMENT/MUTANT TOWN HIGH-RISES - LOWER EAST SIDE, NY -- NIGHT

Ismael, in uniform, pushes the door open and leads Logan and Kurt inside.

ISMAEL  
Alright, it’s all yours for the  
night. Get you something permanent  
by tomorrow.  
(beat)  
And again guys, sorry for the wait.  
I just got off working a double.

Logan and Kurt walk in, looking around. Logan kicks over some TOYS left on the floor.

ISMAEL (CONT’D)  
Excuse the mess. My daughter...  
No bags?  
(off their non-response)  
No explanation needed. I’ll be  
across the hall.

Ismael closes the door. Logan picks a STUFFED ANIMAL up off the floor, and hands it to Kurt.

LOGAN  
So you don’t get lonely.

  
EXT. BATTERY PARK - LOWER MANHATTAN, NEW YORK -- NIGHT

Scott leans against the railing, looking out over the water at the late night construction for the detainment camp at Governor’s Island. He tosses his balaclava into the water.

Jean walks up, joining him. Scott sees her, drops his head.

JEAN  
Were you trying to hide? You know  
I’m a mind-reader, right?  
(beat)  
And I’ve known you since you were  
12.

SCOTT  
Peter?

JEAN  
He took the Rolls back upstate. I  
think he’s scared of me now.

SCOTT  
The word you’re probably looking  
for is intimidated.

JEAN  
Is that how you feel?

SCOTT  
Me? Nah... Just good ol’ fashioned  
stupid.  
(beat)  
We’re the good guys, right? I  
thought the good guys were supposed  
to win.

JEAN  
I've got some bad news for you,  
Scott. It's about Santa...

Scott chuckles.

SCOTT  
I grew up in buildings like those  
high-rises. Not apartments, but...  
Overcrowded orphanages, group  
homes... Sleeping five, six to a  
bed, no space, not enough food.  
Feeling so small. Even before I  
knew I was a mutant, before the  
Professor showed me another way.   
And I remember people like Unus,  
who-- Who just wanted to take  
advantage.  
(beat)  
I didn’t want those people to feel  
like I did. I wanted them to know  
that someone was fighting for  
them... But, I guess I don’t know  
how to do that.

JEAN  
...You know what Peter told me  
today, while he was hiding from the  
FBI? Said he wants to protect us,  
like we protect him and Illyana. I  
think your fighting spirit’s  
contagious... So keep it up.

Scott turns to her. She smiles, he smiles back.

SCOTT  
Look, I don’t know what’s gonna  
happen with this coalition and  
everything, but... Can you just  
keep doing this?

JEAN  
Doing what?

SCOTT  
Making me a better man.

Jean leans in and KISSES Scott. Deeply.

Then she backs away. Instantly regretful.

JEAN  
I’m sorry... I’m--

Jean walks off. Scott watches her go, flustered.

_OMINOUS MUSIC STIRS..._

  
INT. COUNCIL CHAMBER/KRAKOA -- NIGHT

Rogue walks into the room, followed by Toad and Vapor. Pyro and Thunderbird stand by the large table, waiting for them.

Pyro and Vapor exchange worried glances.

PYRO  
You sure about this, love?

Rogue nods.

  
EXT. HIGHWAY 43 -- FINLEYVILLE, PA - NIGHT

A BLACK SUV tears down an empty highway.

  
EXT. MINGO CREEK COUNTY PARK -- NIGHT

The REAR LIGHTS of the SUV silhouette a GOVERNMENT AGENT digging a hole in the dry earth with a SHOVEL. Satisfied, the figure finishes, silhouette transforming into a LITHE WOMAN.

Mystique opens the trunk to reveal a ROLLED UP CARPET in the back. Strands of Sharon’s blonde hair hang out from the end.

  
I/E. LIMOUSINE/BACK ROADS - SALEM CENTER, NY -- NIGHT

The Professor, Forge and Ororo ride in the back. The news plays on the LIMO TV, footage of Stryker leaving Kelly’s home.

TRISH TILBY (ON TV)(O.S.)  
Reverend Stryker was seen yesterday  
meeting with Senator Kelly--

The Professor looks out the window as they arrive at the Manor. There are no vehicles, no security presence.

  
INT. XAVIER MANOR -- NIGHT

Peter watches TV in a darkened room as the Professor, Forge and Ororo enter, with a few bags.

PETER  
Welcome back.

FORGE  
Where’s the security detail?

PETER  
They left.

  
INT. ISMAEL'S APARTMENT/MUTANT TOWN HIGH-RISES - LOWER EAST SIDE, NY -- NIGHT

Logan lies on the couch, SMOKING A CIGAR. The BURNER PHONE buzzes on the end table next to him. He picks it up.

LOGAN  
Yeah.

UNUS  
Logan. I’m callin’ in that favor  
early. You meet the sheriff yet?

LOGAN  
Ortega? Yeah.

UNUS  
Good. Kill him.

Logan sits up, gazes at the toys littering the floor.

LOGAN  
...Thought he was the only one  
holding this place together?

UNUS  
Yeah well, a guy he promised me he  
took care of just busted up my  
office with some friends. Do it  
tonight.

The phone CLICKS off.

  
INT. COUNCIL CHAMBER/KRAKOA - NIGHT

Rogue rolls her shirt up above her chest, then lies face down on the large table. She puts a gloved hand in front of Thunderbird.

ROGUE  
Make sure you don’t touch my skin.

Thunderbird looks up at Vapor.

THUNDERBIRD  
I don’t like this.

VAPOR  
It’s her choice.

  
INT. FBI OFFICE - KIRKSVILLE, MO -- NIGHT

Agent Cooper picks up the phone, in her cubicle from earlier.

AGENT COOPER  
Special Agent Cooper?

  
INT. SITTING ROOM/XAVIER MANOR -- NIGHT

Xavier, Forge and Ororo stand before a SMART SPEAKER.

PROF. XAVIER  
Yes, Agent Cooper. It’s Charles  
Xavier. I’ve arrived home and the  
security detail you promised,  
doesn’t seem to be here.

INTERCUT PHONE CONVERSATION - FBI OFFICE/SITTING ROOM

AGENT COOPER  
We pulled that detail. Yeah, I was  
surprised you went over my head for  
that.

FORGE  
What office made the request?

She types away at the computer in front of her.

AGENT COOPER  
Actually, it was a Senator’s  
office. Senator Kelly.

  
INT. COUNCIL CHAMBER/KRAKOA -- NIGHT

Toad takes Rogue’s other hand and grips it tight in both of his. Pyro fires a BURST OF FLAME, MORPHS it into a scalpel.

PYRO  
Second time’s a charm.

  
INT. SITTING ROOM/XAVIER MANOR -- NIGHT

Xavier TURNS OFF the speaker. Turns to Ororo and Forge.

FORGE  
Kelly and Stryker--

PROF. XAVIER  
They know he’s coming here. They’re  
trying to clean up their mess.

  
EXT. XAVIER MANOR -- CONTINUOUS

Omega Red and Scrambler crouch down, hidden behind the bushes in Xavier’s garden. Scrambler points a pistol grip LISTENING DEVICE towards the mansion. They both wear EARPIECES, pressing against them with their fingers.

ORORO (ON EARPIECE)(O.S.)  
And we’re the bait.

PROF. XAVIER (ON EARPIECE)(O.S.)  
Find Scott and Jean, tell them not  
to return until--

SCRAMBLER  
Casualties acceptable...

OMEGA RED  
Do it.

Scrambler shuts his eyes, readying himself.

  
INT. HALLWAY/MUTANT TOWN HIGH-RISES -- NIGHT

Ismael opens the door to Lorelei’s apartment, dressed in a T-shirt and boxers. Logan stands before him.

LOGAN  
Sorry to wake you. I need you to  
look at something for me.

  
INT. COUNCIL CHAMBER/KRAKOA -- NIGHT

Pyro plunges the flame-scalpel into Rogue’s back. She SCREAMS.

_AS THE MUSIC CRESCENDOES..._

  
EXT. XAVIER MANOR -- NIGHT

Scrambler’s whole body SEIZES. The air FLUTTERS around him as a SHOCKWAVE stretches across the lawn and through the manor. ALL THE LIGHTS go off inside.

Then they wait, as everything grows silent.

**END.**


End file.
